Rubens continued to carry out large-scale commissions until the end of his life. In 1638 the Antwerp city authorities ordered a triumphal car which was to be drawn ceremonially through the city. The commission was prompted by the victory of the Infante Ferdinand over the armies of the United Provinces of the Netherlands at Kallo. The Triumphal Car of Kallo is a brilliant example of Rubens' confident and improvisational sketching technique.
In 1518, Dürer went to the Diet of Augsburg following a delegation of dignitaries from Nuremberg. On that occasion, he did the portrait of Jakob Fugger (Staatsgalerie, Augsburg) and also one in a half-bust of the emperor, then fifty-nine. It is a pencil drawing carried out on 28 June (as indicated by the inscription on the same paper).
Shortly thereafter, probably still during his sojourn in Augsburg, he did a second portrait, still in a half-bust, but this time painted on canvas: Dürer probably preferred canvas to panel because it simplified the execution, for the painting as well as for the transportation. This painting, now in the Germanisches Nationalmuseum in Nuremberg, did not have the inscription on parchment, which was added only after the emperor's death on 12 January 1519. The inscription is in German. It was transcribed, translated in Latin, in capital letters on the third panel portrait, now in Vienna.
The story continues in the middle register of the left (east) wall.
This is one of Piero's most complex and monumental compositions. The artist depicts on the left the discovery of the three crosses in a ploughed field, outside the walls of the city of Jerusalem, while on the right, taking place in a street in the city, is the Recognition of the True Cross. His great genius which enables him to draw inspiration from the simple world of the countryside, from the sophisticated courtly atmosphere, as well as from the urban structure of cities like Florence or Arezzo, reaches in this fresco the height of its visual variety.
The scene on the left is portrayed as a scene of work in the fields, and his interpretation of man's labours as act of epic heroism is further emphasized by the figures' solemn gestures, immobilized in their ritual toil.
At the end of the hills, bathed in a soft afternoon light, Piero has depicted the city of Jerusalem. It is in fact one of the most unforgettable views of Arezzo, enclosed by its walls, and embellished by its varied coloured buildings, from stone grey to brick red. This sense of colour, which enabled Piero to convey the different textures of materials, with his use of different tonalities intended to distinguish between seasons and times of day, reaches its height in these frescoes in Arezzo, confirming the break away from contemporary Florentine painting.
To the right, below the temple to Minerva, whose façade in marble of various colours is so similar to buildings designed by Alberti, Empress Helena and her retinue stand around the stretcher where the dead youth lies; suddenly, touched by the Holy Wood, he is resurrected. The sloping Cross, the foreshortened bust of the youth with his barely visible profile, the semi-circle created by the Helena's ladies-in-waiting, and even the shadows projecting on the ground - every single element is carefully studied in order to build a depth of space which, never before in the history of painting, had been rendered with such strict three-dimensionality.